Tag Archives: The Fifer

I just received some new photos of The Lebowski Cycle paintings that I had shot while the Frank M. Doyle Arts Pavilion exhibition was still up. Photographer Susan Einstein did a great job and I got many very clear detail shots like the one above (the complete painting is here.) I’ll be swapping out some of the post images for some of the clearer ones from this shoot, and posting more process info on the paintings soon.

The show is down now, but most of the paintings (and a few additional ones) are going to travel to an exhibition of The Lebowski Cycle at The Museum of Contemporary Art in Jacksonville, FL

Here are some photos from Saturday’s opening at the Frank M. Doyle Arts Pavilion. Thanks to everyone that came to the opening. It was quite a turnout. Thanks also to Eric Stoner for taking these photos of the evening. It was great to finally see all of these paintings in one room, and the pavilion is a perfect space for it. These shots really give a sense of the scale of the paintings, which is hard to communicate by listing the sizes on a posted image.

The show will be up for 6 weeks and I’ll be giving a gallery talk about the Lebowski Cycle at the Frank M. Doyle Arts Pavilion on Thursday, September 29th, from 7-10. More info on the show is here…

THE LEBOWSKI CYCLE – (Wall text from the exhibition) The Lebowski Cycle is a series of paintings and drawings exploring layered narratives, using masterpieces of European art and the 1998 Coen Brothers’ film The Big Lebowski as a starting point. The series is the result of a longstanding interest in narrative painting, particularly paintings from the Baroque and Neoclassical eras; complex figurative works that depict grand story arcs, compressing a multitude of thoughts, ideas and emotions into a singular image. However, it is the human interactions and conflicts, formal qualities, and modes of depiction that were as interesting to me as the specific stories. I wanted to explore these ideas, but looked for a way to mitigate the grand seriousness that historical and religious paintings often contain. I started thinking about The Big Lebowski, (a favorite film, obviously) trying to imagine how the characters, humor and preposterous story arc of the film might be enlisted to explore multiple points of view, moods, and intentions if combined with themes and titles from well-known works of European art. The combination led to hybrid images that reference art history, film, and contemporary art, from sources that inform, overlap and may even contradict each other, all run back through the imprecise language of painting. – Joe Forkan